Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.
BARBARA KRUGERI work with pictures and words because they have the ability to determine who we are, what we want to be and what we become.
More Barbara Kruger Quotes
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Direct address has been a consistent tactic in my work, regardless of the medium that I’m working in.
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I’m an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.
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Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.
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Fashion is everywhere and about everything. It is folly, vanity and the fun of it all. It is disguise, innuendo, and cunning. It is mean, gorgeous and ambitious, and definitely the last word for the next few seconds.
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Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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We are obliged to steal pieces of language, both visual and textual.
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I think what I’m trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.
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Listen: our culture is saturated with irony whether we know it or not.
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All violence is the illustration of a pathetic stereotype.
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Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
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The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.
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I think architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.
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I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.
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Look, we’re all saddled with things that make us better or worse. This world is a crazy place, and I’ve chosen to make my work about that insanity.
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I worked with someone else’s photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn’t that be my art?
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I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
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I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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I think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it’s the ideological framing of the debate that scares me.
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If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture – not only national culture but global culture.
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I had to figure out how to bring the world into my work.
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I have no complaints, except for the world.
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You want it, you buy it, you forget it.
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All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.
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I just say I’m an artist who works with pictures and words.
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If I bring up political power, personal power, it sounds like they’re my terms, and they’re not.
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I don’t necessarily think that installation is the only way to go. It’s just a label for certain kinds of arrangements.
BARBARA KRUGER